Film index

Dark Blue World t lb .0 tJan Sterak. ('/ech Repuhlic/l'K/(ierniaii). 2002i ()ndt‘cj \‘etchy. ('harles Dance. 'l'ara l"it/gerald. l12min.'l'his(‘Iech/linglish language WWII period drama recounts \\ hat happens when ('Iech pilots left their occupied home country to fight alongside the RM". ('entred around tuo hest friends who fall out oxer a lonel) and. presumed. \s'idou ed woman. Dark Blue ll'urli/ ignores a more interesting .stor) -Iine: the (melt gorernnient iinprisoiniient of returning pilots. deemed more an einharrassment than national heroes. Instead. an unmemorahle romance unfolds. See re\ ie\\'. ()deon (it) Centre. (ilasgou; Dominion. lidinhurgh. Dinner Rush 1 IS) 00.. tBoh (iiraldi. 1S. 2002) Damn Aiello. \'i\ ian Wu. lidoai'do Ballerini. 03min. .\'e\\ York restaurateur Boh (iiraldi has made a mouth- watering moxie ahout one night of husiness and pleasure in a popular Italian cater} in New York (’0). And this self-st} led \\ ise- gu} has set the \\ hole drama (reminiscent of Anthon) Bourdain's restaurant memoir Kile/ten (‘nn/iilvnliuli in his o\\ n dounton n estahlishiiient in 'l'rch(‘a. It's to (iiraldi's credit. and his \\l'llL‘l'\ Rick Shaughness'x- and Brian Kalata. that the) \kL‘iHC a number of plot strands together like a hig. tast_\ ho\\l of spaghetti. 'l'heii' film is fiill)’ satisf} ing. (‘iiie\\'oi'ld. l‘alkirk.

0 Dog Soldiers t I5) 0000 t.\'eil Marshall. l'K. 2002) Sean l’crtu cc. Kevin McKidd. liiiinia (‘Ieashy f0-lmin. 'I'his British ueren'olf' mm ic delixei's flesh-rip- ping gore. edge-of-the-seat suspense and nicked hlack humour. lea\ ing one drained hut thoroughl} entertained. Yet it nex er short-changes its deftl} di'a\\n characters. a squad of British soldiers on inanoein res in the Scottish Highlands \\ ho fall pre} to some lank) lycanthropcs. l’itting doun-to- earth soldiers against do“ n-aiid-dirt} “ere- \\o|\es. director .\‘ei| Marshall strips ana} an)‘ stipei'fluous supernatural dressing. Ironically. the scarier the film gets. the fun- nier it hecoines )ou laugh otit loud just to release the tension. (ieneral release. Dolphins it) it's. Zoom niins the. The producers of the most successful [MAX mox ie e\ er. Iz'i'i'n'il. take iis undersea into the aquatic home of dolphins. \Vith narration hy Pierce Brosnan and music h} Sting. l.\l.»\.\'. (ilasgou.

ET - the Extra-Terrestrial it‘i .... (Stc\ en Spielherg. l-S. l‘)S2/2(l(l2f Dee Wallace-Stone. llenr} Thomas. l’eter ('o)ole. l20min. For the f“ entieth anniiersary of this fahle ahout a peaceful alien niarooned on liarth. Spielherg has dusted off his helos ed original and re- released it in a neu and ifnpt'oVed form featuring digital tinkering tlilk e} es. for example. ha\e heen ‘enhanced' to make him appear more alien) and ne\ er hef'ore screened scenes such as [if ha\ ing a hath. But most interesting is the e\cision of all the firearms the American authorities chasing li'l‘ and his human friend lilliot are no“ armed \\ ith nothing more threatening than iiiohile phones. 'l‘here's something a hit precious ahout this kind of cleansing of the

film. Still. as a fantas_\ ad\entui'e for kids and ‘adult kids' alike. lil‘ remains some kind of modern classic. Selected release. Everestit'i tl‘S. 2002i l.\l.-\.\ hig screen presentation. IMAX. (ilasgou. Experiments in Terror 1 lhef (Various. Various. 2002i mins thc. Selection of short films made h) e\periiiiental filmmakers \sorkiiig \\ itliiii the horror genre. (‘('A. (ilasgtm.

Ferris Bueller’s Day Offt I5: 0.. tJohn Hughes, l'S. I‘)S(if .\latthe\\ Broderick. Jennifer (ire). (‘hai'lie Sheen. 103mm. A sunn} Spring da_\ in ('hicago is far too good to spend locked in a classroom so the iri'cpressihle l‘ei'ris Biicllei' feigns a iiialad). cuts classes and promises his t\\o hcst friends a da) to reincmher. (‘haracteristicalI) llughes teen coined} that scores \\ ith fresh dialogue and appealing chai'actel‘isations. hut has the din“ hack of some lahotii'ed farce and the need lo make meaningful statements. (‘ameo. lidiiihurgh. Footloose t I5» f llei'hei't Ross. t'S‘. 1934i Ke\ in Bacon. l.ori Singer. John l.ithgou. l07min. Bohh} socks. sneakers and si\ degrees Ul‘ Ke\ in Bacon. 'l‘his still heats I'tllllt’ and l'fllS/It/(Hlt (' in the collecti\e choreograph) stakes. ('anieo. lidiiihui‘gh. 40 Days and 40 Nights t IS) .00 t.\lichael l.ehmann. l‘S. 2002i Josh llartiiett. l’aulo ('ostan/o. Shann} n Sossamon. ()Sinin. ()n the rehound from a long-term relationship. a San l‘rancisco

\\ eh-desigiier gi\cs up sc\ for l.ent. His new l_\ made \o\\ stands challenged \\ hen a 1m ishing hcaut) coiiies his \sa). 'l‘he

We'll hand it to you on a plate

Unsurpassed restaurant deals

25 THE LIST .73 Ma. ‘) tl‘fl‘. PM?

attraction's mutual. hut can he last'.’ l’alling into the recent spate of l 'S se\ comedies. 4’1 40 manages to stand a cut ahm e the rest. With a snapp} and sharp dialogue. this film is surprising!) Iikcahle. Sec re\ icu. (iencral release.

Fried Green Tomatoes at the Whistle Stop Cafe 1 I: l 0.0 tJon A\ net. l’S. I‘Nl i Kath} Bates. Jessica land). Mar} Stuart .\lasterson. Mar} -l.ouisc l’arkcr. 130mm. After the local Ku Kim Klan threatens the hus} cafe in Whistle Stop. Alahama for ser\ ing coloured customers. the female o\\ ner and her hlack hand} man find theinsehes on trial for an tinso|\ ed iiiiii'dei'. A chronicle of courage and iiigenuit} that a\oids hecoming as

m cm heliiiingl} heart-“arniing as one might ha\e feared. .\'ot the most tantalising item on the menu. hut a fla\otti'sonie little dish nonetheless. ()deoii. lidinhui‘gh. From Hell t IS) 0.. (Allen and Alhert Hughes. IS. 200] l .lohnn} l)epp. lleather ( iraliam. Rohhie ('olti‘anc. I2 l min. As a (iolhic thriller in the Hammer mould. I'i'nm lie/l \soi'ks just fine. Blood is splattered ahout \\ ith the enthusiasm of an ahattoir attendant. and there‘s not an oppot'tttnil} iiiissed to urcath scenes in mist and shroud them in shadon. llo“ c\ er. as an in\ estigation of the .lack the Ripper iiiurdci's. I’m/n lll'l/ is a disappointment. lt hriiigs nothing lie“ to the plethora of conspii'ac} theories surrounding the brutal s|a_\ ing of fi\ e \\'hitechapel prostitutes in 1888. But then it “as ;i|\\;i}s going to he a tall order. adapting Alan Moore and liddie (‘amphell's e\hallsli\e graphic no\e| imcstigation into the crimes. ()deon ('il} (‘enti‘c. (ilasgtm. GoodFellaSi ISI 0.... t.\lartin Scorsese. l'S. 1000i Rohert l)e \ii'ii. Ra} l.iotta. Joe l’esci. Lorraine Braco. l’aul

Sot‘\ ino. |45iiiin. l.iotta pla}s llenr} Hill. a

real-life Illtl/i(’\l’_ \\ ifh l)e Nil'o as his mentor

in crime. And \\ hilc the hullcts. fists and car\ ing kni\ es fl_\. Scorsese hi'ings tis hack to that unmoidahle question glamorous and lucratix e to h\ c this \xa}. hut can ainonc i'eall) Ii\ e \\ ith the consequences? Winner of B:\l"l‘A auards for hest film. director and screciipla). and a Best Supporting Actor ( )scar for Joe l’esci. l‘( i(‘. lidinhurgh.

Gosford Parki 15).... fRohet'l Altman. l'S/l'ls'. 200| l .\lichael (ianihon. Kristin Scott 'l'hoiiias. Kell) .\l.icdonald. l.i7min. 'l’he Agatha ('hristie estiue Illlll'tlel' m_\ stei'} at the centre of (int/mil l’iir/s is the least compelling part of Altman’s other“ ise fine|_\ ohsen ed period piece. Set in \otetiihei' I‘) ‘2 o\ er a fen da_\s during a shooting part} at the cponynotn cotinti'} estate of Sir \Villiani .\lc( 'oi'dlc t( iainhoiii

)L'S. ll‘s

A rare moment of action in the POW courtroom drama Hart’s War

and lad} S} I\ la .\lc('ord|e (Scott Thomas). (I'm/mil l’urk details the relationship hetneen the filth} rich upper class and their put upon ser\ants. And \shat detail the film fleshcs out all 25 memhei's of the excellent enseinhle cast. along \\ ith their indix idual stories. .\'o eas} trick in No hours. Studio (‘inenia. Dunoon.

Grand Canyon tl'i il‘S. 2001 i mins thc. Simulation ride hriiiging )ou the full-hloun \iondci‘ of that i'eall}. reall} hig hole in America. l.\l.v\.\. (ilasgon.

Harry Potter and the Philosopher’s Stone tl’( ii .000. t(‘hris ('olunihus. l'S/l‘ls'. 2001 i Daniel Radcliffe. Rohhie (‘oltrane. Maggie Smith. John ('leesc. Richard Harris. Jltlie \Vttllet's. l52min. (‘olumhtis has remained true nol inst to the spirit hut. in man} cases. the letter ofJ.l\'. Ro\\liltg\ no\ el. \Vith oil!) the occasional nip and tuck. the film folltms closel} the tale of orphan ho_\ llarr}. \\ ho grous up in suhui'hia little realising that he‘s of \\ i/ard stock. l.ike the noxel. the film is unsentiniental. \\ ith no hint of ick) Minus}. Rather. it is sustained h) a set of superhl} dr} performances h} the all-British cast and rexiarded h} the true. “ell-earned emotion of an honoui'ahle quest sttccessftlll) fought. Selected release.

Hart’s Wart 15) .0. ((it‘egot‘} llohlit. (S. 2002) Bruce Willis. ('oliii l’arrell. .\larcel lures. l25inin. ('onfined

\\ ithiii a German l’( )\\‘ caiiip tonards the end of “AV”. a [S colonel in ct'sees the court martial of a fellou .-\inerican soldier accused of murder. The looming presence of .\'a/i occupation further complicates an alread} precarious situation. ('onflicting character nioti\ation adds an e\tra dimension and reseals fine acting. particular!) from lures. B} hlui'ring the stci'eot}pica| \iar film lines of ( iernian suinc/American llero. lliiri'x llill' pro\ es a satisf} ing drama. See i'c\ ie\\. (ieneral i‘elcase.

Heist t I5) C... thi\ id .\lainel. l'S. 200] i ( ieiie llackiiian. l)ann} l)e \ito. Rehecca l’idgeon. firiiiin. .\lastcr thief Joe .\loore tllackiiiani decides it's time to quit and seek retirement do“ n South \\ ith his _\oung \\ ife l‘ran tl’idgeoni. llo\\e\ ci'. his fence Bergman tl)e \itoi hlackniails him iiiio cai'l‘} in: out one final score. After the patch} filinniaking satire Slim' tlllt/ .lliim. Mamet is hack on hoiiie-turf. offering up a noii‘ish “mid of cons and scams. \\ hile his trademark charged dialogue is still intact. Yet. Mamet is also attempting to muscle in on action-mm ic coin entioiis for \\ hich he lacks the requisite \ isual panache. and he's no“ \\riting to a ‘nothing is \\ hat it seems. formula. (liiiieo. lidinhurgh.